by Thom JurekShine, recorded and released in 2007, is the sign from the heavens that Joni Mitchell has come out of retirement. She left in the early part of the century, railing against a music industry that only cared about golf and rappers, accusing it of virtually every artistic crime under the sun. So the irony that she signed to Hear Music, Starbucks' music imprint, is pronounced. The company has been embroiled in controversy over its labor and trade practices, and has been accused of union-busting and spying on its employees and union members. It's especially ironic given the nature of the music on this set, which is political, environmental, and social in its commentary. Hear Music has also issued recordings by Paul McCartney and Bob Dylan, so she's in great company. But it's music that we're after here, and Mitchell doesn't disappoint on this score. She doesn't have the same reach vocally that she used to. A lifetime of cigarette smoking will do that to you. But given the deeply reflective and uncomfortably contemplative nature of some of these songs, it hardly matters. Mitchell produced this set herself, and with the exception of guest performances: saxophones by Bob Sheppard, steel guitar by Greg Leisz, some drum spots by Brian Blade, and bass by Larry Klein, all selectively featured. Mitchell plays piano, guitar, and does all the other instrumentation and arrangements herself. The drum machine she uses is so antiquated, it's corny, but it's also charming in the way she employs it. The songs carry the same weight they always have. Her off-kilter acoustic guitar playing is as rhythmically complex as ever, and her commentary is biting, sartorial, and poetic.... Read More...